looks like we made it. #SHAKE #TenderLovinTour #WeSangManInTheMirrorTwiceInTheCar #TheRoad

fyspringfield:

Treehouse of Horror 

always and forever.

fyspringfield:

Treehouse of Horror 

always and forever.

sosure:

I did Andrew Polk’s (@polksalad) show in New Orleans with Shalewa (@silkyjumbo) and Louis CK dropped in and went up right after me. Won the comedy lotto this weekend. I took this picture because I still get excited about this kind of thing, sorry.

as i got a cup of water from the bar, a guy in a plaid shirt leaned over and quietly said, “good set.”

and that guy…was right. my set at the hi-ho lounge in new orleans was the best one of this weekend run i’ve been doing with SoSure.

that guy was also louis ck, so that was nice.

Mississippi Welcome Center! Come Look At Our Historic Lunar Lander Before Visiting Our Historic Vending Machines!

you and me both, what-a-burger cup. you and me both.

i was NOT prepared for the flood of emotions i felt when i watched this clip. had me in happy tears while waiting at a rite-aid.

this song is 20 years old and i still haven’t figured out how to apply lipstick correctly or perfect that craig mack arm swinging thing. but that did not stop me from catching the holy ghost each time someone walked onto the stage. brandy! mc lyte! fuckin’ yo-yo! the queen! and everyone looked amazing - real talk, i’m trying to be yo-yo when i grow up.

(for reference)

dtownsteez:

Britney Spears - Piece of Me

Chances are you have heard this song. Chances are you would recognize it instantly. It’s one of those weird tracks that straddles the odd specificity of an album cut and the emblematic ubiquity of a smash single. Many words have been written about it, and deservingly so: it’s a delicious, snarling treatise on celebrity and the spectacle of female pain in the aughts, one that remains jarring even after multiple, consecutive plays. There’s always something new to mine here, and today that’s what I did. Not intentionally, of course, but my iPod was on shuffle while I was driving and suddenly I was careening through that initial synth detonation. Woooooweeeeoowww. My car’s speaker system was at the upper limit of its volume, and as the song zigzagged along its course, I latched onto its stretchiness. It’s the sound of pop at its most naked, eschewing any aural sleights of hand in favor of extreme, disorienting vocal distortion. Whose voice is this, really? Britney’s? Keri Hilson’s? Or a digital approximation that exists on a plane of code? There is something brilliant and defiant about this as a strategy, in that it preempts any accusations about authenticity or creative agency. You are either going to consume this sausage, even though you are explicitly being shown the processes used to make it, or you aren’t. I think most people I know (not just music critics!) like or love this song. That’s the power play: rail as you may against the descent of music into a [staid derogatory adjective] abyss, you cannot escape pop’s magnetism. And isn’t that what it was about, what it has always been about, when it came to how the public perceived Britney? The belittling of a person, her talent, life choices, or body as too plastic, while ignorant of the command she has exerted and continues to exert. “Are you sure you want a piece of me?” That’s rhetorical, because Britney knows your answer already, even if you don’t. Yet.

lord, this is beautiful.

a student at work CONFIDENTLY called me by the name of my coworker @melonie__b. this is how we look.

this new weezer, doe.

(there are two lousy songs on it, yes, but for the most part, this is a…return to form? hard to say, since we’ve all elevated that form to iconic status. but it IS a move in the right direction. also, welcome back behind the boards, ric ocasek!)

(in closing, i love that album cover.)

(Source: Spotify)

classic carl.

classic carl.